Welcome to this website about Victor Sloan

Victor Sloan's work is shown in Taiwan.

Voices Travel: Conversation Between Two Harbours

Kaohsiung Museum of Fine Arts, Taiwan

21 June – 21 September 2014

This exhibition is the first large-scale international exchange exhibition between Taiwan and Northern Ireland. 

It showcases the works by 23 invited artists who explore the cities, industries, lifestyles and colonisation histories of both countries as well as different facets of the international political conditions. 

Their works are based on the use of “port” as a metaphor for historical and cultural integration in globalization and also on the rich heritage of marine cultures of the two island countries. 

There are three themes in this exhibition: “Connections among Ports and Writing of Islands”, “Drill/Practice of Voicing” and “Humour in Facing the World”. 

This exhibition is intended to inspire more reflection upon and discussion about one’s own cultural subjectivity and uniqueness. 

Artists from Northern Ireland are: 
Cian Donnelly, Deirdre McKenna, John Aiken, Lisa Byrne, Locky Morris, Paul Seawright, Peter Richards, Sara Greavu, Sinead O’Donnell, Susan MacWilliam, Victor Sloan.

Artists from Taiwan are:
吳梓寧 (Wu, Tzu-Ning)、倪祥 (Ni, Xiang)、高俊宏 (Kao, Jun-Honn)、莊宗勳 (Chuang, Tsung-Hsun)、許怡慈 (Hsu, Yi-Tzu)、郭嘉羚 (Kuo, Chia-Ling)、陳伯義 (Chen, Po-I)、陳界仁 (Chen, Chieh-jen)、陳冠彰 (Chen, Guan – Jhang)、黃志偉 (Huang, Chih-Wei)、楊順發 (Yang, Shun- Fa)、蘇信義 (Su, Xin-I )、饒加恩 (Jao, Chia-En)

Curated by Mr. Chin-ming Lee and Brian Kennedy.

Connecting two harbours: the writing of the past
John Aiken’s sand structures, a maze of walls of sand forming an impenetrable barrier, both reference the historical fortification of cities in general, and the system of peace walls built across Belfast. These sand structures present an oxymoron: a feature of permanence created out of the most fragile and transient of components. They remind us that the writing of the past can be seen in the most literal and physical of objects.

Taxi III: Stand Up and Cry like a Man by Lisa Byrne offers a video of first hand accounts of a selection of Northern Irish taxi drivers who were all victims of terrorist attacks. The impact of these verbal accounts is vast: the trauma of their experiences clearly etched on their bodies and heard in their voices. The taxi drivers may be recounting the past, but they physically carry it with them into their present.

Perhaps the most iconic symbol of Belfast, the Titanic, is explored in Sara Greavu’s video piece Apocalips Lil and the Night to Remember. The process of story telling and oral history is explored through a “toast”, the African-American narrative tradition similar to rap, where heroic events are narrated in an elaborate and lively manner. Shine and the Titanic remains a popular Toast, telling the story of Shine, a stoker on board the Titanic who foretold the disaster, but was repeatedly ignored.

Paul Seawright’s Sectarian Murder series documents the sites and media coverage generated from Sectarian attacks in the 1970’s. Each photograph has an accompanying newspaper report, with the reference to the religious background of the victim removed. The works question the editing of the past, as well as highlighting the futility of attempting to maintain difference in the face of death.

Practice of one’s voice: How do we become who we are?
F-L-A-M-M-A-R-I-O-N, a video work by Susan MacWilliam, centres on the events of a 1931 séance. The work reflects her fascination with the world of the paranormal and raises questions about the possibilities and limitations of language, vision and representation. The work investigates how our beliefs influence who we are and offers an alternative belief structure to traditional religious beliefs.

Locky Morris’ video installation Of-Note questions the effect of our surrounding on who we are. Having been born and continuing to live in Derry/Londonderry, a city whose divides are deep enough to prevent agreement even on its name, Morris’ work suggests the continuous possibility of conflict amidst an apparent calm.

The Reference Readings: Art, Text and Trees series (2012), created in collaboration with Christa-Maria Lerm Hayes, began with Peter Richards inviting Lerm Hayes to select a number of texts prior to visiting his studio to enact them in front of a pinhole camera. The duration of the reading dictated the exposure time, and the resulting photographs documented this process. The readings were recorded and could be heard as a soundtrack to the finished photographs. Richards’ pin-hole photographs literally trapped and compressed the reading time. The result is that visual information is layered on top of its self to the point that it becomes difficult to read.
Victor Sloan’s single channel video Walk, 2004, shares with the viewer the artists dismay with how when taken to far cultural preservation can quickly turn into cultural isolation. Sloan’s simple manipulation of his recording of an Orange march presents the viewer with a kaleidoscopic reality, one filled with an alternative drama, simultaneously celebratory and sinister.

The humorous way of facing the world as well as our own future
Cian Donnelly’s video work The Jangly Dusk draws on fairytales and folklore to create an alternative version of reality. Using dark humour as a method of mediating past and current problems, the work re-imagines the river and towpath as a fictional space; set for scenes of post-utopian romanticism and poetic horror.

A tongue-in-cheek critique of the contemporary pre-occupation with punctuality, Deirdre McKenna’s Untitled Tragedy is a miniature sculpture painting depicting her own funeral.  The funeral offering the last chance for the artist to be late, the piece undermines and therefore reduces the power of the funeral as a tragic event.

Asking viewers to temporarily remove themselves from reality and enter into her alternative headspaces, Sinead O’Donnell has literally created headspaces that hang from the ceiling that can be inhabited by visitors to the exhibition. Headspace: White Cube also acts as a critique of the modern world, the work suggests that to find peace from the voice of the past and present we must literally remove ourselves from them.

Kaohsiung Museum of Fine Arts
80 Meishuguan Road, Kaohsiung, Taiwan, R.O.C. 

web: www.kmfa.gov.tw


Victor Sloan's works are shown in the Art of the Troubles exhibition at the Ulster Museum in Belfast.

Art of the Troubles

Ulster Museum, Belfast

11 April - 7 September 2014 

© Victor Sloan

This major new exhibition brings together the work of 50 artists from Northern Ireland and beyond. Art of the Troubles offers avenues for exploring the way in which the Troubles have been viewed by a range of artists and for reflecting on the manifestations and impact of violence and division in our society.

The exhibition comprises 60 works, including paintings, drawings, photographs, videos and sculpture. It explores a broad range of themes including violence and destruction, suffering and loss, traditions and life in the midst of turmoil.

The exhibition has been developed in partnership with Wolverhampton Art Gallery and includes many works from the collections of National Museums Northern Ireland and the recently gifted Arts Council of Northern Ireland Collection. 

Also incorporated are loans from the Imperial War Museum’s Northern Ireland Collection, the Irish Museum of Modern Art and the Dublin City Gallery the Hugh Lane, as well as works from private collections and artists themselves.

Art of the Troubles will be supported by a public programme, which will allow various themes reflected in the exhibition to be explored. Activity will include lectures, tours, workshops, film screenings and a conference in association with the Institute of British and Irish Studies from University College Dublin.

A range of online resources will be created both to supplement the exhibition. These will include filmed interviews with a number of the artists, a digital record of the exhibition and images of other works by the artists represented in the exhibition. An online publication relating to the conference will also be produced.

Ulster Museum 
Botanic Gardens
Belfast BT9 5AB
T: 0845 608 0000 


Victor Sloan's work is included in:

The Faraway Nearby

F E McWilliam Gallery, Banbridge

7 March -17 May 2014

© Victor Sloan

The Faraway Nearby is a multi-generational exhibition that looks at the transient nature of influence, revealing visual and formal affinities and methodologies between artwork and artists from Northern Ireland.

The exhibition consists of works from multiple public and private collections.
Artists: Willie Doherty, Paul Henry, John Luke, Colin Middleton, Nevill Johnson, Paul Seawright, Philip Napier, Locky Morris, Elizabeth Magill, Mary Mc Intrye, Willie Mc Keown, Tim Millen, William Scott, Eoghan Mc Tigue, Siobhan Hapaska, Conor Mc Feely, Tony Hill, Damien Duffy, Hannah Starkey, Eddie Rafferty, Patrick Jolley, Victor Sloan, Majella Clancy, Dougal McKenzie, Jennifer Trouton, Darren Murray, Andrew Nicholl, Ryan Moffett, Stephen Madden, Cian Donnelly, Brendan O'Neil, Joesph Beuys, Alaistair McClennan, Una Walker, Aisling O'Beirn, Dan Shipsides, Peter Spiers and Peter Richards.

Exhibition curated by Feargal O'Malley

F.E. McWilliam Gallery & Studio
200 Newry Road,
County Down, BT32 3NB

Telephone: 00 44 28 4062 3322
Email: info@femcwilliam.com

Web: www.femcwilliam.com


Some of Victor Sloan's works: 
Click on image